Archive | 6:57 pm

Ads Watch: Kia Optima Blake Time Travels

19 Dec

Blake Griffin, pitchman, is so uncharacteristic in these ads, that it kind of flips all the way around, making him seem charismatic.

There are two versions of this commercial so far, and the model plays out so well that it would make a lot of sense to make a couple more; unlike the Aaron Rodgers State Farm commercial which came together on a number of magically impossible to replicate details, the formula here seems pretty easy to assemble.

In short, both begin with Blake Griffin using the fancy voice activated system for the Kia, which apparently controls, among other things, a time machine, to go back in time to a year in the mid’90s, and then, again using the voice activated system, puts on an appropriate period pop song.  He visits himself as a kid and impresses his younger self with his car.  He gives the kid an idiosyncratic piece of advice, and returns.

Let’s start with the 1995 edition for further detail.  The song, on the way back in time, is “This is How We Do It” by Montell Jordan, a perfect choice to epitomize the period of time.  He comes back and visits six-year old Blake, who’s hanging on the rim of a basketball hoop attached to his garage.  How did he got to be hanging on the rim?  Who the fuck knows.  He asks 2012 Blake who he is, and Blake responds that he’s himself from the future, and the kids asks if big Blake’s car is a spaceship.  Why in the world would a six year old think a car, that looks like any other car, is a spaceship?  Because it came through some sort of time portal?  I suppose, but still.  2012 Blake tells him that the Kia is way better than a spaceship, and I like how blunt and unhesitating he is; there’s no way a spaceship could be better than this car.  Blake shows a solid self-aware sense of humor in telling the kid to practice his free throws, and proceeds to fling a free throw towards the hoop and miss it badly.  (Where did the basketball come from?  I’ve watched this ad a dozen times and I still have no idea).  He doesn’t consider the fact that six-year old him is dangerously hanging from the rim, or the even more disturbing fact that flinging a free throw could dislodge the six-year old and cause a dangerous fall.  He just turns around, leaves him hanging, and heads back to the future as “This is How We Do It” returns and the screen turns to white.

The 1997 version functions similarly and is every bit as good, if not better.  He tells the car to take him back to 1997, and play jukebox, which here plays OMC’s “How Bizarre”, an equally appropriate choice to summon up memories of that year.  He shows up to find eight year old Blake playing football in the park and immediately instructs him, “Wrong sport” and punts the football far away.  Young Blake looks up confused, asks who he is, and 2012 Blake informs his younger self that he’s him from the future (apologize for the confusing pronouns but this is what happens when you have a future version meeting a past version of the same person) and tells him a little bit about his futuristic car; this part is the most ad-like piece of the commercial, but I enjoy that the Kia features he brags about really don’t sound all that futuristic.  He pauses and shares a sublimely awkward three second pause staring at his younger self, and then issues him the advice to “Stop Wearing Jean Shorts.”  When the kid looks down confused, older Blake says, “Just Trust Me,” and the screen turns to white, and How Bizarre resumes playing in the background.

I’ve mentioned some of my favorite parts in the descriptions, but I’ll sum them up here.  First, as I started up top with, Blake makes this ad.  He’s not charismatic, and he doesn’t even try, but his matter of fact, lack of inflection tone is simply perfect.  In that tone is his utter lack of empathy; he doesn’t try to connect with his younger self at all, and is, really, kind of a dick.  In the 1995 ad, he leaves his younger self hanging on the rim, and in the 1997 version, he boots his younger self’s football away from him.  Even his bits of advice are given entirely without emotion.  The song choice is absolutely spot on for both ads, and I still love that the five year old thinks the car is his spaceship.  All in all, it makes for the rare tolerable car commercial.  More, please.

Mid-season Report: The Walking Dead

19 Dec

Welcome, Michone

I’ve been harsh on this show at times.  Many times.  In fact, throughout much of the second season, when I felt like this show constantly didn’t live up to its full potential.  That’s what made it so frustrating for me; while so many TV shows have no chance at greatness from arrival, The Walking Dead constantly seemed like a case study in potential only realized in spurts, like a naturally talented athlete who gets by on talent alone, but could be a star if he hit the gym more often.  There were a number of different issues, but there two stood out the most (at least that are occurring to me now).  First, the pacing was terrible; the show consisted of absolutely epic moments sandwiched between long periods of inactivity or activity that no one cared about.  Second, half the characters were either boring, incredibly irritating, or not fleshed out at all.  I posted this at last season’s midseason, and these problems remained throughout the season; there were always just enough glimpses of what the show could be to keep me watching, but also enough problems to make watching frustrating and occasionally exasperating.

This season, I’m happy to say, was a revelation.  By far the best season yet of The Walking Dead, the third season mostly dispensed with the least interesting aspects of the show, and moved at a far brisker pace than the second season; as much occurred in the first half of the third season as happened in the entire second season.

I haven’t read the comics, though I’m considering it, and thus, I don’t know how much is taken from the source material, and how much is original for TV, but either way a series of smart decisions were made along the way towards assembling this season.  An important part of a show like The Walking Dead is keeping fresh blood (brains?) coming in in terms of new characters; since there aren’t 20 major characters like in Lost, if characters die, they need to be replaced, or we’d be down to 3 characters in no time.  Thought of in a different way, the advent of new characters allows the creators freedom to kill off whichever characters they believe are the least interesting, have become irrelevant due to storylines, or would just provide the most punch, plot-wise.  This character refreshening was achieved smartly with the death of Laurie; Laurie had become of limited usefulness as she descended into depression over her inability to have Rick forgive her.  Her death packed a huge emotional punch, and also led to difficult reckonings for her son Carl, who, even I must admit, has become far less irritating than he was in season 2, growing up to become, dare I say, somewhat competent, as well as Rick, for whom Laurie’s death put him off his game more than any other time previously in the show.  In addition, I liked the new characters who were added, mainly Michonne, the Governor, and his cronies, including Merle and his scientist Milton, who have all helped keep the show interesting.

Having the two storylines (the prison and the governor’s town) side by side completely worked.  The multiple locations probably played a role in the much improved pacing, since the show could dance back and forth, and it paved the way for the eventual central conflict of the half season.  Although the governor was and is clearly evil, because, hey, it’s TV, and it would have been a shock if he wasn’t, he’s definitely seemed like a more of a real kind of complex person than I thought he might.  I think this could possibly be done even more deftly, with making him a slight bit less evil, but David Morrissey has certainly handled it well enough that it feels like the Governor is a regular guy turned hard ass, rather than a mere psychopath bent on the destruction of those who stand against him.

I thought for sure it would take us an entire season for Rick’s gang and the Governor’s to meet but was extremely pleasantly surprised to see that it happened within half a season, with major events and reveals seemingly occurring in every single episode.

I’ve already commented on its similarities to Lost, and many of the questions The Walking Dead deals with – how far is it right to go to protect certain remnants of society from surviving – what civility, and what rules are left in a crumbling society, are similar to those handled by Lost at its best.

Overall, I feel as energized about this show as I ever have, and I’m glad to report that I’m actually really excited for the second half of the season to begin, an outcome I hoped for at various points during the second season but began to stop expecting.